Analysis of Claude Monet’s Impression, Sunrise | Incite Incite Journal of Undergraduate Scholarship Analysis of Claude Monet’s Impression, Sunrise Filed under Art , Art , Art History , Research , Volume 4 Share: Throughout the years, Claude Monet’s Impression, Sunrise has been celebrated as the quintessential symbol of the Impressionist Movement. This renowned work of art which illustrates a view of the port of Le Havre in north-western France is considered to be one of Monet’s “most poetic expressions” of his engagement with France’s revitalization efforts after the Franco-Prussian War. [1] Unlike other artworks of the time, the subject matter and specific painting techniques evident in Impression, Sunrise seek to transcribe the feelings initiated by a scene rather than simply rendering the details of a particular landscape. This act of expressing an individual’s perception of nature was a key characteristic and goal of Impressionist art, and is a common motif found in Monet’s paintings. While Impression, Sunrise and Monet’s artistic technique fell under harsh criticism at their outset, Monet’s masterpiece gave birth to a new movement and created a revolution in the world of art.

Widely regarded as Monet’s single most famous painting, Impression, Sunrise was completed during the late nineteenth century in 1872. The most significant aspect of the painting is its credit with giving the Impressionist Movement its name. When the painting was first shown to the public in the L’Exposition des Révoltés—an exhibition independent of the Salon that was organized by Monet, Bazille, Pissarro, and their friends—many critics were extremely disapproving of the rebel group’s work, especially that of Monet. [2] In the April issue of Le Charivari, a critic named Louis Leroy judgmentally entitled his article “Exhibition of the Impressionists,” thereby coining the term inspired by the title of Monet’s work Impression, Sunrise. Although this oil painting was disparaged during the time of its creation, today it is viewed as an austere example of the mindset and purpose behind Impressionism. Currently, Impression, Sunrise is located in the Musée Marmottan in Paris, France. [3] The imagery of this work of art presents a focus on the calm feeling of a misty maritime scene.

Slightly below the center of the painting, a small rowboat with two indistinct figures floats in the bay. The early morning sun is depicted rising over the foggy harbour with ships and other various boats at port. The shadows of the boats and figures and the reflection of the sun’s rays can be seen on the water’s surface. Monet incorporates a palette of mostly cool, dull colors into the painting with blues and grays, but also includes splashes of warm colors noticed in the sky and the red-orange sun. This usage of a noticeably bright color draws attention to the main focus of the painting, the sun. Numerous vertical elements can be found throughout this hazy landscape. To the left of the center of the canvas, a four-masted clipper ship enters the harbor while smoke-stacks of steamboats fill the atmosphere. Cranes and heavy machinery can be detected to the right side of the painting. The emissions of the factories, ships, and machinery mix with the early rays of the sun to generate a sort of beauty that is “both surprising and seductive.” [4] Off in the distance, more vertical forms break the horizon—chimneys of various factories and masts of other ships may be observed.

Through the examination of specific characteristics apparent in the painting, we are able to identify the distinguished artistic style of Monet. As a notable artist, Claude Monet was acknowledged for his awareness of color harmony and his ability to enforce viewers’ attention. He was widely known for capturing rich atmospheric effects and a particular moment in time in his works of art. [5] To accomplish these feats, Monet employed broken brushwork and heightened color. He was also very sensitive to the moods created by a landscape; in his own words he explained his method of depicting the feeling of a scene: When you go out to paint, try to forget what objects you have in front of you, a tree, a field…Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naïve impression of the scene. [6] Throughout his work, Monet maintained an imaginative grasp of the essential structure and pattern of the subject he was painting.

Other artists such as Boudin, Jongkind, and Courbet had a strong influence on this ability of Monet’s, which can be recognized in his landscape paintings made during the fifteen-year span of 1865-1880. [7] He was capable of extracting meaningful design from apparently casual scenes, thereby emphasizing the true nature of a place. This manner of illustration can be seen in Impression, Sunrise—he places an accent on the fogginess of the harbor that is created by the smoke from the steamboats, which relates to its chief status as a major trading port. An important part of Monet’s artistic style was the way in which he transformed an outdoor painting into a finished masterpiece. Every painting Monet created had to meet a certain criteria before he could begin to consider it a finished piece, and even then he could find the potential for change and growth in a painting and deny its completion—“Anyone who says he has finished a canvas is terribly arrogant.” [8] Using different terms to distinguish each step, Monet followed a precise process in order to make his paintings. The beginning step was called the croquis which defined the first outline of the artist’s first idea actually drawn out on paper or canvas.

He referred to the second step as the esquisse which was a quick, small trial work focused on the painting’s composition. The esquisse was characterized by a free and bold handling of the pen or brush and expressed the “heat of improvisation.” [9] The next stage of a painting was named ébauche, used to describe the first real painting done on the canvas that evolves into the completed work in the end of the process. Pochades, the fourth step, were viewed as draft works that were abrupt but performed with more care and attention than an esquisse. Monet explained his fifth stage of a painting as an etude, a work painted entirely outside but not deemed a finished painting. Closely related to etudes were impressions, the step that Impression, Sunrise refers to. Impressions were stages of a painting used to capture natural effects and the emotions radiated by an outdoor scene. The tableau was the last stage of the painting process and considered the final product which needed no other preparations. Over time, Monet’s painting techniques evolved and matured from the type he implemented in Impression, Sunrise to that seen in his later, larger paintings such as his water lilies.

One area in which he developed his technique was pigment mixture. While Impression, Sunrise displays several different tones of color, Monet’s later works exhibit a wider variety of color juxtaposed against one another. Monet would come to use layer upon layer of paint in his future paintings. He applied many layers to succeed in creating the perfect combination of pigment, but also to cover undesired portions when he changed his mind in the process of completing a painting, which happened often. Up to fifteen layers of paint have been counted in a cross-section by scientists who have analyzed Monet’s paintings. [10] Another future technique not seen in Impression, Sunrise that Monet employed was corrugation. This technique is seen in several of his water lily paintings. The effect of corrugation was produced by layering thick, but open brushstrokes of paint onto the canvas which then served as the textural basis for the thin strokes of color placed on top. Monet applied these thin strokes perpendicularly to the under-layer so as to lightly brush the ridges of the texture. If Monet acquired layers of paint that were too heavy, he often used a technique called scraping down to remove the unwanted or excess paint.

A final technique Monet later utilized in his water lily paintings was named leaching. In this process, Monet would squeeze the paint out of the tubes onto paper blotters to drain the oil from the paints. This technique was commonly used when he desired a softer and more matte-like appearance. [11] Because Impression, Sunrise is regarded as the painting that gave birth to the Impressionist Movement, we can clearly observe specific details in this work of art that allude to its Impressionist style. An important characteristic of Impressionist painting is the type of brushstrokes utilized. Short, thick strokes of paint are applied to the canvas to quickly capture the essence of the subject. The brushstrokes visible in the water in Impression, Sunrise create a sense of rhythm which reflects the feeling produced by the motion of the sea. Another feature of Impressionist painting was the distinct application of color. Colors are placed side by side and are mixed optically by the viewer’s eye. This technique is evident in the sky and water portions of Impression, Sunrise. Lastly, Impressionist painters consigned heavy emphasis on natural light—a practice that can be detected throughout Monet’s work including the sunlight reflection in this particular artwork.

To achieve this natural ambience of light, he often mixed his pigments with large amounts of lead white. [12] During his career, Monet’s innate skill to capture this effect was recognized through his reputation as the “incomparable painter of [. . .] light.” [13] There are many cultural influences that permeate Impression, Sunrise. The masterpiece is a combination of two themes in landscape painting that would have been extremely familiar during the late nineteenth century. Scenes of sunrises and French ports were subjects that were commonly portrayed in artworks of this time; therefore Monet’s decision to combine these two topics is logical. [14] We can also explain his choice of subject matter through his own personal background. Le Havre port, the one seen in Impression, Sunrise, was located in Monet’s hometown. He was extremely familiar with this area of France and had special connections to the harbor itself. Therefore, viewers and researchers can clearly recognize why he would select this location as the main subject in many of his works. One cultural event that had an immense effect on the artwork of Monet was the Franco-Prussian War.

Lasting from 1870-1871, the war was a conflict between the Kingdom of Prussia and the Second French Empire. France ultimately lost the war, marking the end of Napoleon III’s empire, and was forced to relinquish the territory of Alsace-Lorraine to Prussia. While the war only lasted a year, the results of the war were damaging to French government, society, and morale. As France began its recovery from the war, individuals began to unite for the purpose of reconstructing the nation. Monet had a heavy engagement with the revitalization of French pride and spirit, depicting his fervor in many of his paintings made at that time. In particular, his Impression, Sunrise strongly emphasizes France’s determination to rebuild and recover from the devastation of the war. [15] Since the 1850s, Le Havre had slowly grown to become the second largest port of France. In Impression, Sunrise, Monet’s inclusion of many large ships in the painting depicts this fact. After the Franco-Prussian war, however, the harbor experienced a more steady increase in population and business.

The expansion of the port was seen in the early 1870s as a testimony to France’s post-war renewal. [16] At the time of Impression, Sunrise’s creation, Le Havre harbor was the site of many of the city’s largest and most important industries. Many indications of this fact can be found in Monet’s painting. The haziness in Impression, Sunrise is due not only to the morning mists of the channel, but also to the emissions produced by factories and steam ships. The heavy machinery noticeable in the artwork was part of a construction project that was taken up following the armistice signed between Prussia and France. [17] Although it is hard to believe an industrialized, smoggy scene could be viewed as one of beauty, to the people of the time like Monet, this scene would have been a source of inspiration for the prosperity of the future. At the height of Impressionism, critics and artists began to doubt whether or not the movement would have a lasting effect and value. Even Monet, the most highly regarded Impressionist painter and leader of the style, questioned the permanence of his work.

[18] It was around this time that Monet’s subject matter and method of painting somewhat changed. He began to depict objects that held more religious and historical significance, such as his “Liberty Trees” paintings, which referred to the trees that people planted during the French Revolution to signify French democracy. [19] By illustrating items that had important connotations, Monet hoped to bring a similar importance to Impressionism. He also started painting the same objects or scenes over and over again, but at different times of the day. This method is manifested in his series paintings, such as his grain stacks, water lilies, and the Rouen Cathedral in northwestern France. While these series represented his interest in light effects, they also symbolized Monet’s attempt to find stability in his artwork. [20] Over the centuries, people have been certain that Impression, Sunrise was the masterpiece that inspired one of the most important art movements ever known. However, some researchers have recently speculated whether or not Impression, Sunrise was in fact the painting that was associated with the start of Impressionism.

[21] These experts claim that the description from the first Impressionist Exhibition does not match that of Impression, Sunrise, but instead that of another of Monet’s paintings—Sunrise (Marine), seen below: This painting is supposed to have been created during the early spring of 1873, placing it around the same time as the production of Impression, Sunrise. Some researchers believe the target of Louis Leroy’s criticism has been confused over the years and was always meant to be Sunrise (Marine). They argue that Impression, Sunrise was not shown in the first exhibition in 1874, but was instead only shown in the fourth show of 1879. They also state that Impression, Sunrise does not illustrate a rising sun, but in fact a setting sun as it would look through fog. Therefore, they assume Impression, Sunrise cannot be the painting described in the critic’s original article. They do however believe that Sunrise (Marine) unmistakably depicts a rising sun and correctly corresponds to the measurements cited in Leroy’s article, so thus they consider it is the true painting that inspired the Impressionist movement.

[1] Although criticism and uncertainty about Impressionism surfaced during its practice, there is no hesitation existing today concerning the vital impact that this movement had on the world of art. Monet, the chief painter of the Impressionist Movement, can be credited with much of the style’s success and notoriety. His masterpieces, especially Impression, Sunrise, excelled in expressing one’s perception of nature which came to be the essential goal of Impressionist art. Monet’s avant-garde approach to painting the feelings emitted by a scene rather than exact details paved the way for advancements in technique that led to the evolution of modern art. Dunstan, Bernard. Painting Methods of the Impressionists. New York: Watson-Guptill Publications, 1976. Print. Gunderson, Jessica. Impressionism. Mankato: Creative Education, 2009. Print. Heinrich, Christoph. Claude Monet, 1840-1926. Cologne: Benedikt Taschen Verlag GmbH, 2000. Print. House, John. Impressionism: Paint and Politics. Singapore: John House, 2004. Print.

House, John. Monet: Nature into Art. New Haven: Yale UP, 1988. Print. Lyon, Christopher. “Unveiling Monet.” MoMA 7 (1991): 14-23. Print. Patin, Sylvie. Monet: The Ultimate Impressionist. New York: Harry N. Abrams, 1993. Print. Southgate, Therese. “Sunrise (Marine).” The Journal of the American Medical Association 291.21 (2004). Print. Taillandier, Yvon. Monet. New York: Crown, 1988. Print. Tucker, Paul H. Claude Monet: Life and Art. New Haven: Yale UP, 1995. Print. Footnotes Claude Monet - Impression, Sunrise, 1872 Impression, Sunrise, 1872 Impression, Sunrise, 1872. Oil on canvas, 48 × 63 cm.

Musée Marmottan Monet, Paris Impression, Sunrise (Impression, soleil levant) is a painting by Claude Monet. It gave rise to the name of the Impressionist movement. ► History Dated 1872, its subject is the harbour of Le Havre in France, using very loose brush strokes that suggest rather than delineate it. Monet explained the title later: Landscape is nothing but an impression, and an instantaneous one, hence this label that was given us, by the way because of me. I had sent a thing done in Le Havre, from my window, sun in the mist and a few masts of boats sticking up in the foreground. … They asked me for a title for the catalogue, it couldn’t really be taken for a view of Le Havre, and I said: ‘Put Impression.’ It was first displayed in 1874 during the first independent art show of the Impressionists (who were not yet known by that name). Critic Louis Leroy, inspired by the painting’s name, titled his hostile review of the show in Le Charivari newspaper, “The Exhibition of the Impressionists”, thus inadvertently naming the new art movement.

He wrote: Impression—I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it … and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape. The painting was stolen from the Musée Marmottan Monet in 1985 by Philippe Jamin and Youssef Khimoun but recovered in 1990. Since 1991 it has been back on display in the museum. ► Colour and luminance Desaturated version of the painting: note how the sun is virtually invisible here. Although it may seem that the sun is the brightest spot on the canvas, it is in fact, when measured with a photometer, the same brightness (or luminance) as the sky. Dr.

Margaret Livingstone, a professor of neurobiology at Harvard University, said “If you make a black and white copy of Impression: Sunrise, the Sun disappears [almost] entirely.” Livingstone said that this caused the painting to have a very realistic quality, as the older part—shared with the majority of other mammals—of the visual cortex in the brain registers only luminance and not colour, so that the sun in the painting would be invisible to it, while it is just the newer part of the visual cortex—only found in humans and primates—which perceives colour. ► References Impression, Sunrise - Become Art Expert Become Art Expert April 20, 2016 Impression, Sunrise (1873) a smallish (24.8in x 18.9in) oil on canvas painting of the harbour at Le Havre by the 33-year-old Claude Monet on holiday when standing at his hotel window, is now recognised as one of the greatest modern paintings of the nineteenth century. In order to capture the light it was painted swiftly at a single sitting with short quick brushstrokes and without waiting for the paint to dry.

It can be described as a slight sketch with the emphasis on light interacting with other elements in the seascape. Traditional painting at this time emphasised detail, colour and structure but in this painting there is a lack of form. The small boat with two figures in the centre, the other rowboat and the sun are the exceptions. The rest of the items in the top half of the painting are hazy. There is a hint of early morning mist, well known to Monet from his visit to London in 1870 when he experienced both mist and fog. He gleaned some of his ideas from the work of JM W Turner (1775 – 1851) at this time. This work is a masterpiece despite the lack of detail because of the use of light and colour and the hinting of solid objects which allows the viewer the freedom to interpret what he sees. Monet painted a total of six canvases at the harbour at varying times of the day and from different viewpoints, but Impression, Sunrise became the most famous following its debut in April 1974 at an exhibition in Paris. Other exhibitors were Renoir, Degas, Pissaro and Sisley.

Monet was asked for a title for the catalogue and feeling that it couldn’t really be described as a view of Le Havre because of the lack of detail, so he said “put Impression”. This gave rise to the name and recognition of the Impressionist Movement whose name started here. Although this painting received massive publicity at the exhibition this new approach with its emphasis on light and lack of form was not valued by everyone, the most well-known negative comment was by art critic Louis LeRoy who stated that wallpaper in its “embryonic stage,” was worthier of attention. Nevertheless, Impressionism was soon to be universally accepted as a breakthrough. Impressionism Art Movement Impressionism Art Movement 1870 – 1900 How to identify Impressionist art? 1. Look for paintings with thick dabs and blobs of paint; the choppy brushwork will make you wonder if the artist finished the painting in a hurry. Woman with a Parasol by Claude Monet 2. Get too close to an Impressionist painting, and it will seem like a big, incomprehensible mess, take a few steps back, and your eyes will have to adjust to its blurriness.

The Boulevard Montmartre at Night by Camille Pissarro 3. There’s no clear outlines or many details. The very loose brush strokes suggest rather than delineate the subject, blending one color into the next with almost no boundary between them. The Star – Dancer on the Stage by Edgar Degas 4. Artists were fascinated with capturing nature’s fleeting moments, and the interplay between mist, fog, sunlight, clouds and water reflection. These themes, painted in feathery splashes of typically bright colors give the paintings a shimmering effect. Impression, Sunrise by by Claude Monet 5. Most paintings are outdoor scenes that depict rivers, railroads, factories, cityscapes, seascapes and landscapes. You’ll notice there’s a particular emphasis on urbanite social life in activities such as relaxing on the beach or boating. The Regatta at Sainte-Adresse by Claude Monet 6. If the painting is uncharacteristically indoors, it would still portray middle class members — the haves of society, not the have-nots — drinking, dining and dancing. The paintings show them in settings that include bars, cafés, opera houses and ballet classes.

A Bar at the Folies-Bergère by Édouard Manet How Impressionist art got its name? The word “impressionism” owes its origin to a title that Monet gave to one of his paintings. It happened in a whimisical decision that took no more than a moment – a perfect naming ceremony for an art style that focuses on capturing fleeting moments. This is how Claude Monet recounted the story: “they asked me for a title” for a painting of the French harbour of Le Havre. His tentative response was: “Put Impression.” He picked that term in acknowledgement that his painting was not more than a mere impression of the real Le Havre. The painting would later acquire the full title Impression, Sunrise (Impression, soleil levant) before it went on display (view painting above). A conservative art critic, Louis Leroy, coined the word “impressionism” as an insult to Monet’s unconventional work in a satiric review. As in contemporary language where “geek” or “gay” are reclaimed by those the words are meant to abuse, Monet and similar artists embraced the label and became “Impressionists.” What gave rise to Impressionism? And where?

Society In the mid-nineteenth century, industrialization of Western Europe introduced set working hours. That meant the expanding middle class could start having, as we do today, planned vacations. In France, going to the beach or vacationing in a country house was fashionable for urbanites seeking to escape their filthy cities, crowded factories and workshops. Many of those urbanites were nouveau riche and unaccustomed to the modern lifestyle of steady income and spare time – no wonder some of them are absurdly overdressed for the beach (view painting above), even by the standards of their own time. (Who goes to relax on the beach in a three-piece suit?!) The regular income created a commercial opportunity for artists to document the activities of domestic tourists, interested in paintings as souvenirs. Parisians of that period sought relevant scenes from their own contemporary lives, rather than “high art” with Graeco-Roman or biblical themes destined for museums and art academies. Thanks to the invention of paint tubes, a revolutionary change had been quietly transforming the painting process since the 1840s: en plein air paining (“in the open air”). No longer artists had to sketch outdoors and finish the paintings in their studios.

One of the early adopters of outdoor painting was Eugène Boudin. He was a major influence on young Claude Monet when they met in 1858. Years later, Monet would become the leader and founder of Impressionism. He accompanied Boudin to the seashore where he learnt painting directly from nature. Monet’s experimental style aimed at colorfully recording the light at certain moments. Ultimately, it would be the Impressionists who’d popularize outdoor painting and bring it to a mass audience. Monet was originally joined by three other artists: Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille. In 1874, Impressionist artists displayed their paintings for the first time in a private exhibition. Technology 1. Paint tubes: painting goes portable Pierre-Auguste Renoir once said “without tubes of paint, there would have been no Impressionism.” The new invention provided easy transport and long-term storage of paint. Probably, the last thing your mind could associate with great pre-Impressionist European paintings is, uhm, pig bladders. But that’s what the small pouches were made of to store paint.

The industrial revolution didn’t only transform the world around artists, but also the very tools they used. With easily portable paint tubes, the Impressionists were not hindered from experimenting with outdoor painting at different times of the day, and under various light and weather conditions. You might think the Impressionists found their work easy enough since they no longer needed to worry about the inconvenience of transporting paint in pig bladders or even be confined to their own studios, but that was still far from enough! They created a new painting technique which was incredibly genius (lazy, according to their critics). Instead of “slaving away” at mixing colours on a palette, as artists had always done, they applied the colours directly from the tubes onto the canvas. Let the eye of the observer do all the necessary colour mixing! The art critic, Louis Leroy’s sarcastic response was “what ease of workmanship. Wallpaper in its embryonic state is more finished than that seascape.” 2. Photographs versus paintings Impressionist art was born at a time when photography, after decades of refining, was becoming increasingly sought after. A deep look into Impressionism will find the spirit of photography within it, and simultaneously a reaction against it.

In one of the earliest and best examples of machines replacing humans, artists no longer received commissions for portrait paintings. A camera could produce a more accurate job, albeit in black and white, at a significantly faster speed. That deprived artists from a much needed source of income, which was as old as the Renaissance – Da Vinci himself was a portrait painter. Seeing that photography was also about to step in for recording historic moments and important ceremonies, many declared “painting is dead.” Painters realized their works could not compete with photographs in their documenation of reality. Artists found themselves facing questions such as, why replicate visible reality anymore? could paintings compete with an industrial machine in producing fine details? The answer was obviously negative and that led them into the innovative path of experimenting with light and color. Realistic representational art, which had been dominant in visual Western art, going back to the Greek and Roman eras, seemed to hit a deadend. That led the artist to prefer to dive into one’s own psyche in order to channel a personal perception onto the canvas, producing something that photographs lacked.

Rather than have models pose rigidly for them, Impressionists captured on canvas moments in the lives of ordinary people in a sense of spontaneity that was inspired by photography. The Star – Dancer on Stage (“L’Etoile – La Danseuse sur la Scene“) is painted like a photograph (view painting above). Rebels of a New Generation “Would someone kindly explain to M. Renoir that a woman’s torso is not a mass of decomposing flesh with green and purplish blotches that indicate a state of complete putrefaction in a corpse…” That was a review by Albert Wolff in Le Figaro on Renoir’s Nude in the Sunlight, 1876 (view below).

In another critique of the same Impressionist painting, Louis Enault writes,”[i]t is depressing to look at this large study of a nude woman; her purplish flesh is the color of game that has been hung for too long, and someone really should have made her put on a dress.” Nude in the Sunlight by Pierre-Auguste Renoir Nocturne in Black and Gold: The Falling Rocket by James Abbott McNeill Whistler Impressionist artists turned their backs on the Romantic fixation with emotions. To them, stirring a visual reaction in the eyes of viewers was paramount to stirring their emotions. Also, they shunned clear outlines and forms of Neoclassical paintings. The Impressionist emphasis was on colour, rather than emotions or form. At the time when Impressionism was conceived, artists were expected to conceal their brushwork. Conventionally, paintings – the kind that aspires to belong to high art – tended to look like they were not “painted.” Thick blobs of paint, found in Impressionist works, were considered crude. It was the antithesis of art to leave visible traces of the brushwork on the canvas.

Hostility towards Impressionism culminated in one of the most famous court cases of the 19th century. At the center of the trial was a painting, Nocturne in Black and Gold: The Falling Rocket (1875), by James Abbott McNeill Whistler (view above). The modern motto of “art for art’s sake” was exemplified in Whistler’s painting. His painting did not just foretell of the coming abstraction in art, but also its name “nocturne” (a musical arrangement) was a clear and unprecedented emphasis on the artist’s own experience. On the other side of the court was the leading and respected critic of the Victorian age, John Ruskin, known for his conservative views on art. The libel trial was instigated by Ruskin’s review of Whistler’s painting: “[I] never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face.” Ouch! Ruskin would have been outraged if he knew that one day that kind of paintings would be worth well over 100 million dollars.

Whistler won the case, but the court humiliated him by awarding him only one farthing in damages and he was forced to pay for the court fees. The pyrrhic victory brought him financial ruin. The court and the public, from the outset, were not in favor of him or his modern style. It’s hard to imagine the Impressionist style, admired around the world today, being mocked by critics and the public as ugly and sketchy. The familiarity of the masterpieces makes it even harder for us to comprehend the rationale behind the negative public outcry of its own era. Impressionist artworks were rejected several times by the Paris Salon of the French Academy –notorious for its conservative taste. Hence, Monet and fellow Impressionists had to show their paintings in independent exhibitions which lasted from 1874 to 1886. Their few exhibitions (only eight of them) were earth-shattering to the world of art. The aftershocks would eventually take the form of other ‘modern’ art movements such as Post-Impressionism, Neo-Impressionism, Fauvism and abstract art. WHAT IS MODERN ART?

Although Impressionism is a realistic style, since it shows what painters experience and encounter, it bears very little resemblance to the French Realist movement (1840-1870) that preceded it. What they painted might seem based on reality, but their artworks were never replicas of what they were painting. Visual modern art is non-figurative representation of objects, be it imaginary like a unicorn or a Greek goddess, or real, like a family on a train. Objects and also objectivity were no concerns for the emerging modern artist. What mattered most was subjectivity – the artist’s feelings and own perception of reality. The Impressionist fascination with light and reflection at the expense of clear outlines often manifested in a haze of color – “close up, it’s a big ol’ mess” as a character in the movie Clueless puts it. But there’s more here than just a “mess”: art had just started slowly marching towards abstraction. A few decades later, a painting wouldn’t contain more than just a black square. That lack of clear representation of objects is one of the defining features of visual modern art.

Hence, impressionism is considered the turning point that marks the breakaway from the traditional representational art of four centuries. Also, modern art arrived with new methods of painting, new materials and media, and overturned even the conventional notions of things like beauty (you won’t find nude sirens and nymphs in Impressionist paintings). Cite This Page Impression, Sunrise, Oil by Claude Monet (1840-1926, France) Impression, Sunrise, Oil by Claude Monet (1840-1926, France) FREE Shipping. FREE Returns All the time. See details. Framed Giclee Fine Art Claude Monet , Oil Painting Fine Art Claude Monet Framed Print Fine Art Claude Monet , Framed Giclee Fine Art Claude Monet "Impression, Sunrise" Claude Monet - Oil - 1873 - ( Musée Marmottan (Paris, France) ) When Impression, Sunrise hung at its first exhibition in 1874, art critic Louis Leroy derisively used the term “Impressionistic,” from the title of this painting, to describe Monet’s works.

This term was quickly adopted by what were soon to be known as the Impressionist painters, and the exhibition which included other works by Impressionist artists, was from then on referred to as the “Impressionist Exhibition.” This painting was later stolen in 1985 from the Musee Marmottan Monet in Paris, but was recovered undamaged in 1990, and was put back on display at the museum in 1991. Impression, Sunrise (Impression, soleil levant) is a painting by Claude Monet. It gave rise to the name of the Impressionist movement. Although it seems that the sun is the brightest spot on the canvas, it is in fact, when measured with a photometer, the same brightness (or luminance) as the sky. Dr.

Margaret Livingstone, a professor of neurobiology at Harvard University, said "If you make a black and white copy of Impression: Sunrise, the Sun disappears entirely." Livingstone said that this caused the painting to have a very realistic quality, as the older part—shared with the majority of other mammals—of the visual cortex in the brain registers only luminance and not colour, so that the sun in the painting would be invisible to it, while it is just the newer part of the visual cortex—only found in humans and primates—which perceives colour. Actions Reproduction Do not hesitate order your print now ! Claude Monet Claude Monet was, perhaps, the most driven and influential of all of the Impressionists. When he was still little more than a boy, Monet began drawing caricatures which he sold for a nominal fee at the local art store. It was only after Monet’s work was praised by Boudin, a prominent artist at the time, that he heavily considered painting as a career. It wasn’t long after than Monet moved to Paris, the heart of the artistic world.

[Biography - Claude Monet - 1Ko] "[...] il est le maître des couleurs, comme Victor Hugo est le maître des images. Hugo est un œil prodigieux Monet est un œil miraculeux. Quand on a regardé avec attention une série de tableaux de Claude Monet, on éprouve comme une peur il semble qu'on se trouve en présence des créations d'un dieu, et c'est vrai. Cette marine, qui révélera à un m... [Page - Claude Monet - 7Ko] Oscar-Claude Monet (14 novembre 1840 - 5 décembre 1926) dit Claude Monet est un peintre français lié au mouvement impressionniste. Biographie Monet Lisant par RenoirClaude Monet est né à Paris le 14 novembre 1840. Sa famille s'installe au Havre en Normandie l'année de ses cinq ans. En 1861-62, Monet sert dans l'armée en Algérie. Sa tante Lecadre ac...

[Biography - Claude Monet - 8Ko] Commentaires de Huysmans à l'occasion du l'exposition de 1882 qui marque le retour de Monet qui exposait déjà depuis quelques années au Salon officiel, parmi le groupe des Impressionnistes. Extrait de L'Art moderne. M. Monet a longtemps bafouillé, lâchant de courtes improvisations, bâclant des bouts de paysages, d'aigres salades d'écorces d'orange,... [Page - Claude Monet - 5Ko] Claude Monet (* 14. November 1840 in Paris † 5. Dezember 1926 in Giverny, auch Oscar-Claude Monet oder Claude Oscar Monet) war ein französischer Maler, dessen mittlere Schaffensperiode der Stilrichtung des Impressionismus zugeordnet wird. Das Frühwerk bis zur Mitte der 1860er-Jahre umfasste realistische Bilder, von denen Monet einige im Par...

[Biography - Claude Monet - 16Ko] Claude Oscar Monet (Parigi, 14 novembre 1840 - Giverny, 6 dicembre 1926) è stato un pittore francese, tra i maggiori esponenti dell'Impressionismo. La formazione artistica Nasce a Parigi, in rue Laffitte 45-47 secondo figlio di Claude Auguste, proprietario di una drogheria, e di Louise Justine Aubry. La famiglia Monet si trasferisce nel 1845 a Le H... [Biography - Claude Monet - 1Ko] Claude-Oscar Monet (París, Francia, 14 de noviembre de 1840 - Giverny, 5 de diciembre de 1926). Su padre se llamaba Claude Adolphe Monet y su madre Louise Justine Aubrée, siendo el segundo hijo del matrimonio. Los problemas económicos que atravesaba el padre del futuro artista motivaron el traslado a Le Havre, ya que allí podía participar en el pró...

[Biography - Claude Monet - 12Ko] Клод Моне (французское произношение:), также известный как Оскар Клод Моне или Клод Оскар Моне (14 ноября 1840 - 5 декабря 1926) был одним из основателей французского импрессиониста живописи, и самым последовательным и плодовитым практиком философии движения выражения восприятия человека перед природу, особенно в применении к пленэрной пейзажной жи...

[Biography - Claude Monet - 1Ko] 克劳德莫奈（法语发音：）也称为奥斯卡克劳德莫奈或克劳德奥斯卡莫奈（14年11月1840年 - 5 1926年12月）一个法国印象派绘画的创始人，和对运动的表达自己的看法之前哲学的最一致的和多产的医生性质，特别是适用于plein空气山水画。长期印象是来自他的画印象的标题，日出（印象中，旭日东升）。 早期的生活 莫奈出生于1840年11月14日的45街拉菲特五楼，在巴黎第九郡。他是第二个儿子克劳德阿道夫莫奈和路易丝海宁Aubrée莫奈，其中第二代的巴黎人。 1841年5月20日，他受洗在当地教区教堂，巴黎圣母院，Lorette，奥斯卡克劳德。 1845年，举家搬迁到在诺曼底的勒阿弗尔。他的父亲希望他去到家庭杂货店业务，但莫奈

则想成为一名艺术家。他的母亲是一名歌手。 莫奈在1851年4月的第一个，...

[Biography - Claude Monet - 1Ko] Claude Monet (pronúncia francesa:) também conhecido como Oscar Claude Monet ou Oscar Claude Monet (14 de novembro, 1840 - 5 de Dezembro de 1926) foi um dos fundadores da pintura impressionista francesa, eo praticante mais consistente e prolífico da filosofia do movimento de expressar suas percepções antes natureza, especialmente quando aplicado a p... [Biography - Claude Monet - 1Ko] Oscar-Claude Monet (Paris, 14 de novembro de 1840 — Giverny, 5 de dezembro de 1926) foi um pintor francês e o mais célebre entre os pintores impressionistas. O termo impressionismo surgiu devido a um dos primeiros quadros de Monet, Impressão, nascer do sol", quando de uma crítica feita ao quadro pelo pintor e escritor Louis Leroy: "Impressão, nasce...

[Biography - Claude Monet - 8Ko] クロードモネ（フランス語の発音：）もオスカークロードモネまたはクロードオスカーモネ（1840年11月14日 - 1926年12月5日）として知られる、フランスの印象派の絵画の創始者、そして前に1つの認識を表現する運動の哲学の最も一貫して多作開業医だった自然、特に外光派の風景画に適用されるように。用語の印象派は、彼の絵の印象のタイトル、サンライズ（インプレッション、ソレイユレバント）から派生しています。 初期の人生 クロードモネは、パリの第九区に、45通りのラフィットの5階に1840年11月14日に生まれました。彼はクロードアドルフモネとルイーズジャスティンAubréeモネ、それらの両方の第二世代のパリジャンの次男だった。 1841年5月20日に

、彼はオスカークロードとして地元の教区教会、ノー...

Art - Impressionism Art - Impressionism The Dance Class The Dance Class ( La Classe de Danse ) was commissioned in 1872 as part of an arrangement between Edgar Degas and the singer and collector Jean Baptiste Faure. It was one of only a few commissions that the artist ever accepted, and the picture was delivered in November 1874 after 2 years of intermittent work. The oil painting was drawn in 1873 - 76 ( 85 cm & 75 cm ) Được đăng bởi Flood at Port-Marly Flood at Port-Marly is a painting of artist Alfred Sisley. In December 1972, the Seine overflowed its banks at the small village of Port-Marly. The opportunity to paint the watery reflections of a rain-heavy sky lured both Alfred Sisley and Claude Monet. Sisley painted several flood views in 1872 and others a few years later. This oil painting was drawn in 1872 ( 60 cm & 80 cm ) Được đăng bởi Impression, Sunrise Impression, Sunrise ( Impression, solei levant ) is the painting by Claude Monet.

It gave rise to the name of the Impressionist movement. Dated 1872, its subject was the harbour of Le Havre in France, using very loose brush strokes that suggest rather than delineate art show of the Impressionists. Critic Louis Leroy, inspired by the painting's name, titled his hostile review of the show in Le Charivari newspaper, ''The Exhibition of the Impressionists''. The painting was stolen from the Musee Marmottan Monet in 1985 by Philippe Jamin and Youssef Khimoun but recovered in 1990. Since 1991, it has been back on display in the museum.

This oil painting was drawn in 1872 ( 48 cm & 63 cm ) Được đăng bởi Monet's Sunrise was painted at 7.35am, November 13, 1872, says astrophysist Professor Olson | Daily Mail Online Dawn of impressionism pinpointed to 7.35am on November 13, 1872 - the exact moment Monet painted this sunrise Monet's Impressions, Sunrise shows the port of Le Havre in the morning His masterpiece gave rise to the name of the Impressionist movement Now astrophysist Professor Olson has calculated when the sun appeared Debate has raged for years over what time of day it was showing and whether the sun was setting or rising And according to Professor Olson the painting is showing a rising sun Impression Sunrise, Soleil Levant, Claude Monet Coffee Mug | Zazzle Impression Sunrise, Soleil Levant, Claude Monet Coffee Mug $20.30 30% off with code GIFTYOURSELF  Turn Your Mug into a Sweet Gift None 30% OFF SITEWIDE | Use Code: GIFTYOURSELF | Ends Saturday | See Details Sold by �

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Create your own photo mug, shop our collection of the funniest joke mugs, personalize your mug with a monogram, or express yourself with one of our 10 million designs. Available in 11-ounce or 15-ounce Dimensions: 11-ounce: 3.8” h x 3.2” diameter 15-ounce: 4.5” high x 3.4” diameter Microwave and dishwasher safe Meets or exceeds FDA requirements for food and beverage safety Printed on demand in San Jose, California or 29 products Impression Sunrise, Soleil Levant, Claude Monet Coffee Mug Impression, Sunrise (Impression, soleil levant) is a painting by Claude Monet. It gave rise to the name of the Impressionist movement. Dated 1872, its subject is the harbour of Le Havre in France, using very loose brush strokes that suggest rather than delineate it. Monet explained the title later: Landscape is nothing but an impression, and an instantaneous one, hence this label that was given us, by the way because of me.

I had sent a thing done in Le Havre, from my window, sun in the mist and a few masts of boats sticking up in the foreground....They asked me for a title for the catalogue, it couldn't really be taken for a view of Le Havre, and I said: 'Put Impression. Claude Monet (1840 – 1926) was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).

Question: Which harbour is the setting for the painting 'Impression, Sunrise', which gave rise to the name of the art movement?
Answer: LE HAVRE